Life is a dance- Tap into it!
Check out this short film starring Jason Samuel Smith and Arthur Duncan!
Tap Heat has a great mix of very different styles of Tap that seamlessly blend together. It shows that old school Broadway and new school Urban can co-exist alongside each other within the music because rhythm is a universal understanding. The dancing is phenomenal and the choreography by Danny Daniels and Jason Samuel Smith is truly incredible.
When someone asks me why I Tap, my answer is always “Because I love every part of it and want to share my passion and knowledge with others”. When they ask me if there is any money in it, I say “Not usually”. Do I want fame and fortune, to be on TV? Nope. So what makes me continue with something that seems to the outsider “a waste of time”?
I am much more interested in understanding the roots of the dance; where, when, and who it came from. There is a wealth of history that is lying dormant that is being forgotten with today’s generation of students. As I was listening to the soundtrack of Bring in ‘da Noise, Bring in ‘da Funk, there was one particular track that stood out to me called “Green, Chaney, Buster, Slyde”. It is nothing more than Savion Glover hitting behind a beautiful monologue about the greats that he studied with. It is raw, real, and gives insight to the life of Tap dance. He talks about how they were educators rather than entertainers, and were out there hitting rhythms that everyone could understand. It wasn’t about flashy smiles and costumes, it was about telling a story through your music.
Savion is one of those teachers/dancers who is in it for the pure love of the art. One of his goals is to keep Tap alive and follow the traditions that make Tap what it is, while also experimenting to keep his dance relevant to the times. These traditions of improvisation, hitting, understanding music, and studying the history are being slowly forgotten because no one is taking the time to learn them. Some of these concepts are so foreign to my students that sometimes I don’t know where to start. It pains me when my students don’t know who the founding fathers of Tap are or can’t name ONE Tap dancer of today’s generation.
I found this article from The Province about Savion’s take on Tap. I love that he’s focused on the tradition and education. He’s such a great role model for what Tap is and where it should go in the future. Granted he’s not the only one, as there are many more people out there who do it for love and truly want to keep Tap on the Map with its original traditions, though Savion is probably the most well known. He is very opinionated (as am I) which is why I agree so strongly with what he is doing and has done for Tap dance and its culture.
Click here to read the article
I just found another article from the Vancouver Sun where Savion gives more insight as to why he does what he does!
Click here to read the article
Here is an interview from Channel 4 News when Savion was in London a few years ago. He talks about being a Hoofer and why he loves what he does.
On a different note (no pun intended) last night on Dancing with the Stars, there was a Tap routine from the Broadway hit Mary Poppins! Tap in musicals is not seen as much as it has been in the past andI thought it was nice to give the audience a reminder that Tap dance is still alive and out there!
Barbara Duffy is everywhere. What hasn’t she done? This incredible teacher, dancer, and choreographer seems to pop up at every Tap Dance event around the world to share her talent. She’s performed at countless events, solo shows, and with her own company. She is truly a master of her craft.
Barbara has studied with many of the great Tap legends such as Gregory Hines, Brenda Bufalino, and Leon Collins which have greatly influenced her style. When you watch her dance you can feel the syncopations of Leon, see the intricate footwork of Ms. Bufalino, and hear the innovations inspired by the late great Gregory Hines. Her feet barely leave the ground as she rattles off monster sounds and rhythms. Her stage presence and passion captivate her audiences. She’s energetic, creative, and soulful.
Barbara Duffy has so much knowledge that she offers up to her students. She’s a great teacher who leaves a lasting impression, and you will always carry something away from her class that will stay with you forever. I had several “ah-ha” light bulb moments when I took her residency two years ago at Tap City. She has a way of teaching you things you already know, but in a different way that somehow makes perfect sense. She teaches you how to use your whole body (including your voice) and incorporate it into the rhythm of the music. One of the most important lessons I learned from her was not to wait for “it” to happen, DECIDE what you are going to say and then say it! If you are able to sing out the rhythms, then your feet will follow. Don’t be afraid to improvise and make mistakes, this is how we learn!
Barbara is so creative in taking what she’s learned from her teachers and turning it into something contemporary with a hint of history. Barbara is a huge part of this generation of Tap because of her ability to use her rich history and pass it along to the next generation in a way they can relate to and understand.
September 30, 2010
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At only 24, Maud Arnold has made quite a splash. She’s got feet that can move a mile a minute, a smile that captivates you the moment you see it, and a style that sets her apart from everyone else. She’s done so much already at such a young age and is determined to continue.
Maud has spent countless hours studying Tap from the best of the best including her big sister Chloe at NYC’s Broadway Dance Center, and at the Debbie Allen Dance Academy in LA. She’s got the ability to hit precise rhythms with power, always crisp and clean. She’s incredible to watch because she puts her whole being into her performance and pours out her heart and soul.
This girl’s also got some tricks up her sleeve. She finds new ways to use her shoes and sounds to communicate. She does crazy things in heels. And that’s not all. She also has a degree from Columbia in film studies…maybe we’ll see a Tap movie in the future? To have another vehicle to transport Tap to more audiences is exactly what this revolution needs.
When I took class with Maud she worked us to the point of exhaustion (something she must have learned from Chloe!). I thought my legs were going to fall off after her Cramp Roll exercise! We improvised, worked on tricks, had a general lesson in technique, and some super fun choreography. It was incredible. I love how she also told us stories of her experiences showing that she’s human like the rest of us and how to use each experience, good or bad, to your benefit. Maud carries around a positive energy that is contagious. Her class is hard work but a lot of fun and definitely worth it!
Maud is a part of this new generation of Women in Tap because she isn’t afraid to experiment. Trying new things is how Tap keeps evolving, and being able to express yourself is what keeps us growing. She’s out there helping to put Tap on the map (and hopefully on film), drawing people in with her energy and creativity. Chloe and Maud together created the DC Tap Festival, held every year to share their knowledge and love of Tap with the next generation of artists.
There’s also a great article on her in the December 2009 issue of Dance Spirit Magazine. Check it out!
September 28, 2010
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Listen to the sound of your heartbeat. Feel the rhythm radiate through your soul. Now express it through your feet!
This is how I felt when I took Acia Gray‘s Tap Improv class at Tap City. I have never worked with a more organic musician in my life. Music is truly in her bones. She has a style of dancing and teaching that comes from her musical training as a drummer and knows how to create rhythms that get you into a groove. Once you are in that groove, your possibilities to explore are endless.
Acia‘s style isn’t as hard hitting as a lot of what you see today because she is a Jazz Tap Dancer. Her style is light and full of accents and dynamics with a beautiful melody that takes you on a journey that is close to your heart. She has a story to tell that is easy to follow with a beginning, middle, and end that leaves you walking away feeling absolutely wonderful. Because of her training as a drummer, I think she is able to create some very interesting counter-rhythms and melodies, and finds new, innovative ways to use her tap shoes to make certain sounds.
I was first introduced to Acia through her book “The Souls of Your Feet” which includes wonderful information on counting, basics, and steps every Tap dancer should know. I think this book is very useful as a guide for students, plus it outlines how each step is executed.
Acia is also the Executive Artistic Director and co-founder of Tapestry Dance Company based in Austin, Texas.
One of the most important, yet forgotten lessons I learned from this incredible woman is that “It is always music, never steps”. Always listen to the music of your soul and use the talented voice you were given to express it.
Think quick! Who is the first person that comes to mind when you say the words “Tap Dance”? It is usually a male, and in my case it’s Gregory Hines. Ever since the beginning, Tap has been a male dominated art form. Leonard Reed, The Four Step Brothers, Bill “Bojangles” Robinson, Sammy Davis, Jr., The Nicholas Brothers, Fred Astaire, The Hines Brothers, Savion Glover, Jason Samuels-Smith, and the list goes on. But let’s not forget about the ladies. Throughout history there have been some names that have stood out such as Ruby Keeler, Eleanor Powell, Ann Miller, and of course Ginger Rogers and Shirley Temple, who are probably the most recognizable names.
But watch out! Over the past few decades there has been a group of women that has taken Tap Dance by storm and have helped shape this art form into a monumental hard hitting, musical, rhythmic experience. These ladies dance in heels. These ladies hit just as hard as their male counterparts. These ladies are sensational.
It’s not what you expect when you think of women in tap. This isn’t any Rockettes Christmas Show! You see talent beyond belief, creativity so unique, and a lifetime of hard work and dedication.
For the next few weeks I would like to recognize some of these women who have helped the female persona of Tap evolve into what it is today, and who have given me inspiration to be a feminine, hard hitting, rhythmic Tap Dancer.
Today I would like to spotlight Dormeshia Sumbry-Edwards.
Dormeshia has a style all of her own. She hears music and rhythm that is beyond what we know. She is incredible talented and to watch her perform is a sight to see! Her energy with her musicians and her audience draws you in and keeps you wanting more. I’ve had the pleasure of working with her at Tap City this past summer, and the kinds of things I learned from her I will keep to work on for a long time. I want to share a few videos so that you can get a glimpse of how she has helped to revolutionize Tap. I have also included a clip I found where she breaks down Pullbacks (excellent if you are one of my students and need to review). Enjoy.
For a more complete bio, click on the links provided in the text. Check out Harlem Tap Studio for class info.
Ann Miller was known for her turns and “machine gun” taps which set her apart from other women of the time. She had a beautiful voice, looked incredible, and landed many Hollywood movie roles in her lifetime. This clip is from “Easter Parade” (1948) which starred Fred Astaire and Judy Garland. Ann Miller had an amazing performance quality about her that has not been matched.
Jeni LeGon is a tap dancer that most people don’t know about, yet she was one of (if not the only) solo black women who had an amazing career. Many women of the time period were in choruses and some were lucky enough to be the soubrette dancing out in front of the line. Others were in brother-sister groups, pairs, trios, all girl lines (like the Whittman Sisters where Jeni found herself for a short period of time). There were a lot of tap acts and it took some real talent to make it as a solo, especially in film. And there weren’t many solo women- it was a man’s world. You hear names from the movies like Eleanor Powell, Ann Miller, Shirley Temple, and Ruby Keeler, but not many people know of Jeni LeGon. She had made history as the only black women to be paired with Bill Robinson in film, and was the rare act of a solo girl. What set Jeni apart from the other girls was what she could do. She would be out on stage hitting like some of the best men of the time and included toe stands and other tricks that you would never see Ginger Rogers or Ann Miller attempt. She had a style all her own and it catapulted her career to a rank unmatched by any other black women of the time.
In this clip from “Double Deal” (1939) she shows off her amazing strength as a dancer and why she was such a successful solo act- no women could match what she does!
Check out this article on Cariter Williams!! I remember seeing him when he was around 7 in Savion Glover’s show “Footnotes”. He is also teaching at Tap City this year so definitely go and check him out!
http://www.dance.com/mag/-/0/-/4152/
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